Arias for Senesino

Track Listings
1. Bel Contento    
2. Recitativo Accompagnato: Pompe Vane Di Morte!    
3. Dove Sei?    
4. Stelle Ingrate    
5. Selvagge Amenita    
6. Discordi Pensier    
7. Del Ciel Sui Giri    
8. Fosti Caro [    
9. Recitativo Accompagnato: Dall'ondoso Periglio    
10. Aure, Deh, Per Pieta    
11. Al Lampo Dell' Armi    
12. Cara Sposa    
13. Va' Per Le Vene Il Sangue    

Editorial Reviews
Album Details
Senesino, the Voice that Inspired Handel's Greatest Operas Showpiece Arias by Handel, Lotti, Albinoni, Porpora and Scarlatti. One of the Truly Outstanding Voices of Today, Star Countertenor Andreas Scholl Celebrates One of the 18th Century's Greatest Vocal Superstars - the Remarkable Male Alto Known as Senesino. Senesino's Place in History was Secured by his Extraordinary Association with Handel, who after Travelling to Dresden to Hear Him, Brought Him to London to Join his Italian Opera Company - Where He was Greatly Celebrated by the Public, and Much Admired by the Ladies. Inspired by this Unique Singer, Handel Wrote for Him a Dazzling Succession of Operatic Roles which Showcased the Beauty and Power of his Extraordinary Vocal Personality. Scholl's Exquisite Voice, Beloved of Critics and Audiences, Pure, Penetrating, Virtuosic and Deeply Characterful, is a Remarkable Match for the Voice of Senesino.

Arias for Senesino, Music, Tomaso Albinoni, George Frideric Handel, Antonio Lotti, Nicola Porpora, Alessandro Scarlatti, Andreas Scholl, Byzantine Academy, Ottavio Dantone, Classical, Classical Artists, Classical Vocals, Italian Baroque Opera, Opera
Arias for Senesino
Average customer rating: 4 out of 5 stars
  • More from the beautiful voice of this countertenor
  • Wonderful, thank you; but please, no more Handel recitals, okay?
  • Dreadful Senesino
  • Another Superb Concept for a Recital
  • something to tide Scholl fans over
 Arias for Senesino

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000A79NL0
Release Date: 2005-10-11

Tracks:

  1. Bel Contento
  2. Recitativo Accompagnato: Pompe Vane Di Morte!
  3. Dove Sei?
  4. Stelle Ingrate
  5. Selvagge Amenita
  6. Discordi Pensier
  7. Del Ciel Sui Giri
  8. Fosti Caro [
  9. Recitativo Accompagnato: Dall'ondoso Periglio
  10. Aure, Deh, Per Pieta
  11. Al Lampo Dell' Armi
  12. Cara Sposa
  13. Va' Per Le Vene Il Sangue

Album Details

Senesino, the Voice that Inspired Handel's Greatest Operas Showpiece Arias by Handel, Lotti, Albinoni, Porpora and Scarlatti. One of the Truly Outstanding Voices of Today, Star Countertenor Andreas Scholl Celebrates One of the 18th Century's Greatest Vocal Superstars - the Remarkable Male Alto Known as Senesino. Senesino's Place in History was Secured by his Extraordinary Association with Handel, who after Travelling to Dresden to Hear Him, Brought Him to London to Join his Italian Opera Company - Where He was Greatly Celebrated by the Public, and Much Admired by the Ladies. Inspired by this Unique Singer, Handel Wrote for Him a Dazzling Succession of Operatic Roles which Showcased the Beauty and Power of his Extraordinary Vocal Personality. Scholl's Exquisite Voice, Beloved of Critics and Audiences, Pure, Penetrating, Virtuosic and Deeply Characterful, is a Remarkable Match for the Voice of Senesino.

Customer Reviews:

5 out of 5 stars More from the beautiful voice of this countertenor.......2007-03-20

Theres something very choir-boy-esque about the former choirboy Andreas Scholl. He tends to look appealingly nerdy on most of his album covers, rather like Clark Kent I suppose, but all that goes out of the window when you listen to his voice.

I'm not particularly knowledgeable about classical music, I tend to just listen to stuff I like and ignore most of opera which is too, well, operatic and 'warbly' for me. However, Andreas Scholl's album 'Arias For Senesino' gives an opportunity to hear some of these arias, originally written for the famous castrato Senesino, in a plain and sweet style.

For those who like a lot of vibrato and dynamism in their singers, Andreas Scholl isn't for them. However for people like me who like to listen to pure, sweet sounds without too much distracting other stuff, this album works just fine. I know other reviewers have commented that his treatment of Handel is too dull but I found the whole album very enjoyable. I particularly liked the Dove Sei from Rodelinda (what can I say, I'm new to this stuff, and I love that song; I know it's been done to death but it's still great); there were a couple of tracks that were a bit too lively for my taste although no doubt displaying Scholl's real mastery of singing. This is an album that I know I will listen to multiple times and the more I listen the more intrigued I get by the countertenor voice - somehow a bit eerie when you listen to it, but wonderful too. I recommend this album.

5 out of 5 stars Wonderful, thank you; but please, no more Handel recitals, okay?.......2006-08-27

This is an excellent recording of the well known and unknown repertoire of the alto castrato, Senesino. It is a marvellous recording and the singing is magnificent.

Andreas Scholl is still my favourite countertenor and he is in great voice on this recording. The singing is, as always, detailed, subtle, beautiful, stylish, informed and very moving. The 'Cara Sposa' here is a highlight - only David Daniels' impassioned interpretation on his complete recording of Rinaldo can hold a torch to Scholl's. I guess that "Cara sposa" is fast becoming to countertenors what "Casta Diva" is to sopranos?

I like this CD and I know that it is one I am going to listen to a lot in future. However, I already have many interpretations of the Handel arias on other discs by other singers. Scholl's recording is absolutely first class, don't get me wrong, but I just don't want to spend any more money on recitals of Handel arias. I would much rather a singer like Andreas Scholl took a leaf out of Cecilia Bartoli's book (she's another Decca artist, BTW) and record some more interesting unknown repertoire. There must be thousands of wonderful male alto arias in operas by Johann Joseph Fux, Alessandro Scarlatti, Antonio Caldara, Antonio Vivaldi and many, many others gathering dust on library shelves!

I can not and will not buy another recital disc of Handel opera arias - this is well and truly my last, ever!

However, this is a bloody good disc! Andreas Scholl is a living treasure, that's for sure.

2 out of 5 stars Dreadful Senesino.......2006-03-26

First of all,Decca engineers insist on to differentiate "their" Scholl's voice from that more sweet,resounding previous Harmonia Mundi cd's like Bach Cantatas Solo,English Folksongs and so on where it was a pleasure to hear this singer.Even orchestra Bizantina could be better recorded;maybe Milano Auditorium hasn't fine acoustics.However,the same happens on "Heroes" and "Banquett".In this Senesino combo just here,Scholl's voice sounds rough and unpleasant,the top of his range excessive and satured.Second of all,in my opinion,opera isn't his confort zone for good.I believe that as a chorister boy,he grew up in that german musical territory singing sacred music by Buxtehude,Bach,where he did his best on recording.In this cd,I heard his worse;a rugged vocalization plentiful in ha-ha-ha,absolutely abusive that seems dreadful to me("Al lampo dell'armi" for instance),his vocal colours sounding like croacks sometimes,incongruous and dramatically unfruitful attempt to perform repertoire previously recorded by himself like it was a new,fresh one("Dove sei","Aure,deh,...").I'm sorry;I know Scholl fans are very zealous on their idol but I have heard much better Senesinos by Derek Lee Ragin,Daniels,Minter,Gall and so on.

5 out of 5 stars Another Superb Concept for a Recital.......2006-02-18

Andreas Scholl has become one of the top stars in opera and concert stage and is probably the best known of the growing cadre of countertenors. He is well represented in the recorded repertoire and yet he continues to find platforms for exploring the music written for this particular voice.

In this fine recital Scholl elects to sing the arias written for the famous countertenor Senesino, a favorite singer of Handel and the one for whom many of the countertenor roles were written. In top form (which is to say in stunning vocal estate and exceptionally fine technique) Scholl offers arias from Handel's operas 'Flavio, Rè di Longobardi', 'Rodelinda, regina de' Langobardi', 'Giulio Cesare in Egitto', and 'Rinaldo' along with Tomaso Albinoni's operas 'Astarto'and 'Engelberta', Scarlatti's 'Carlo re d'Allemagna', with arias by Lotti and Nicola Porpora. It is a splendid display of style and bravura. Scholl is ably accompanied by the Byzantine Academy conducted by Ottavio Dantone.

Though some will contest a few of the choices of arias included here, Scholl's sensitive programming is another aspect of his devotion to his art. This is a major album full of riches. Highly recommended. Grady Harp, February 06

4 out of 5 stars something to tide Scholl fans over.......2006-01-12

There are certainly some Scholl recordings that I anticipate. I'd love to see him record another Handel oratorio with McCreesh, a full-length Handel or Vivaldi opera, a recital of Vivaldi operatic arias, among others. Are you listening, Decca?

The last Scholl recital, Arcadia, featured arias by lesser-known baroque composers. This time around, it seems that Decca wanted a recital that had broader appeal, hence the idea of a Senesino tribute.

The recital begins with two Handel arias, the first being Bel Contento. This is the Scholl we all know and love, his voice as lovely as the springtime. His ravishing tonal beauty is in abundance, and the Accademica Bizantina provides wonderful support.

After such a nice introduction, Scholl coasts through Pompe Vane / Dove Sei?, undoing some of his faultless technique through some rather bland, white-voiced singing. To hear the full potential of this aria, we must turn to Marilyn Horne's interpretation. If you have the chance, listen to her exquisite, fluttering recording of the aria, so different from the go-for-broke Marilyn to whom we are so accustomed.

Scholl is undoubtedly more excited at the prospect of capturing the non-Handel arias. For this reason, he really catches fire in Stelle Ingrate. One of Scholl's greatest vocal qualities is his peerless staccato trill, and Stelle Ingrate is the perfect vehicle to wow us with. We also get more of a sense of his vocal heft. Thankfully, we have a block of five non-Handel arias that are infinitely better for his voice. My other favorite is Del Ciel Sui Giri. The extended introduction is a fascinating blend of horns and strings, showcasing Accademica Bizantina's talents. In the aria proper, Scholl treats us to some amazing, rapid passagework in the repeat of the A part. This is, hands down, the reason I adore Scholl so much.

Scholl revisits Handel with Dall'ondoso Periglio / Aure, Deh, Per Pieta. His delivery of the recitative is more dramatic than before, especially on phrases such as, "Voi dite che io son morto!" Also, he uses a lower register, to thrilling effect. Unfortunately, he confounds us in the aria section. Attempting to sound more dramatic, his fits of excitement keep yielding to that all-purpose beauty that seems to plague him in Handel. In all fairness, this is still Scholl, but it frustrating to hear him hint at dramatic prowess, without taking the plunge.

Al Lampo Dell'Armi is taken at a lightening-quick pace. This would not work on stage, but in the confines of a recital, it becomes a vanity piece for which to showcase again his almighty staccato trill. It beguiles you to hear Scholl unfazed, even at such quick tempi. The purists will cry foul; I, for one, do not think of baroque music as a sacred cow. A little experimentation now and then, in the hands of such a gifted singer, is not a bad thing.

Unfortunately, this bit of bravura is followed by the clunker of the whole set, Cara Sposa. Granted, many great artists have recorded well-known arias that were not suited for their voice, against better judgement. I think of Maria Callas singing the bolero from I Vespri Siciliani, Birgit Nilsson singing O Don Fatale, or Joan Sutherland singing the Queen of the Night's first aria. Such recordings are for the fans only. I, for one, cannot suspend disbelief, where Scholl and Cara Sposa are concerned. In fact, I have yet to listen to the whole of the aria. It doesn't help matters that the PI support is so cautious and polite. Gimme Marilyn Horne, folks!

Thankfully, that woefully misguided interpretation is followed by the melancholy Va Per Le Vene Il Sangue. Again, we are given evidence of how divine Scholl can be when an aria inspires him.
Handel: Arias for Senesino
Average customer rating: 4.5 out of 5 stars
  • Really good except for Italian diction
  • A truly noble Handel
 Handel: Arias for Senesino

Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

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ItalianItalian | Languages | Opera & Vocal | Styles | Music
ASIN: B0000007BV
Release Date: 1992-12-01

Tracks:

  1. Guilio Cesare: Act I, Scene 9: 'Va Tacito'
  2. Giulio Cesare: Act I, Scene 7: 'Non E Si Vago'
  3. Rodelinda: Act III, Scene 4: 'Vivi, Tiranno'
  4. Tolomeo: Act III, Scene 6: 1. 'Che Piu Si Tarda Omai'/'2. Inumano Fratel'/3. 'Stille Amare'
  5. Riccardo Primo: Act II, Scene 7: 1. 'Nube, Che Il Sole'/2. 'Si Fugge Il Duol'
  6. Riccardo Primo: Act I, Scene 6: 'Agitato Da Fiere Tempeste'
  7. Orlando: Act II, Scene 11: 1. 'Ah! Stigie Larve'/2. Gia Latra Cerbero'/3. 'Ma La Furia'/4. 'Vaghe...
  8. Orlando: Act III, Scene 8: 'Gia Per La Man'/'Gia L'Ebro Mio Ciglio'
  9. Orlando: Act I, Scene 9: 'T'Ubbidiro, Crudele'/'Fammi Combattere'
  10. Orlando: Act II, Scene 3: 'E Questa La Mercede'/'Cielo!'
  11. Flavio: Act III, Scene 4: 'Amor, Nel Mio Penar'

Customer Reviews:

4 out of 5 stars Really good except for Italian diction.......2007-03-07

I feel kind of bad giving this CD only four stars, because in spite of its faults (or, I should say, "fault"), I have gotten quite a lot of enjoyment out of it, and there are certainly many good things about it.

The only reason for the four stars is Minter's diction. His voice is beautiful, his phrasings tasteful, his coloratura clean and articulated, and his trills just fantastic--but the Italian is not quite there. Although it is technically correct in almost all ways, it simply lacks the rhythm that an Italian singer would have given it.

That said, I would still recommend the CD for a non-singer/non-Italian speaker. Being a singing teacher and Italian speaker, I notice these things, but I doubt most people would. Those who didn't would find the selections delightful and would be impressed by Minter's otherwise flawless performance.

5 out of 5 stars A truly noble Handel.......2000-03-10

Drew Minter has an endless number of qualities even in comparison with other bigger or more flexible countertenor voices.In this CD,he display much of his abilities and a truly noble conception on Handel's heroes,a detail that aim to the vulnerableness of his colleagues.In the progressive alienation of "Orlando" for instance,Minter shows us a variety of human feelings turn on to the mythical stature of this character in a very pure baroque style.There are swetness on "Nube que il Sole",valiant disdain in "Vivi,tiranno",the most spectacular "coloratura" in "Fammi combatere" and so on. This CD is a gem and I hope that you enjoy it as much I do.
Handel Arias for Cuzzoni, Durastanti, Senesino & Montagnana / Saffer · Hunt-Lieberson · Minter · Thomas · PBO · McGegan
Average customer rating: 5 out of 5 stars
  • Do not miss it!
  • A must-have for Handelians
 Handel Arias for Cuzzoni, Durastanti, Senesino & Montagnana / Saffer · Hunt-Lieberson · Minter · Thomas · PBO · McGegan
George Frideric Handel , Nicolas McGegan , Philharmonia Baroque Orchestra , Lisa Saffer , Lorraine Hunt , Drew Minter , and David Thomas
Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000007HV
Release Date: 1996-07-10

Tracks:

  1. Arias For Cuzzoni: Spietati, io vi giurai (Rodelinda II, 3)
  2. Arias For Cuzzoni: Ombre, piante, urne funeste! (Rodelinda I, 7)
  3. Arias For Cuzzoni: Il volo cosi fido (Riccardo Primo III, 8)
  4. Arias For Cuzzoni: Accomp.: Che sento? - Aria: Se pieta (Guilio Cesare II, 8)
  5. Arias For Cuzzoni: Recit.: E pur cosi - Aria: Piangero (Guilio Cesare III, 3)
  6. Arias For Cuzzoni: Da tempeste il legno infranto (Guilio Cesare III, 6)
  7. Arias For Cuzzoni: Scoglio d'immota fronte (Scipione II, 8)
  8. Arias For Cuzzoni: Recit.: E tale Otton? - Aria: Falsa immagine (Ottone I, 3)
  9. Arias For Cuzzoni: Recit.: Guinge Otton? - Aria: Affanni del pensier (Ottone I, 10)
  10. Arias For Cuzzoni: Recit.: Serve Asteria - Aria: Se non mi vuol amar (Tamerlano I, 5)
  11. Arias For Cuzzoni: L'Amor che per te sento (Alessandro III, 4)
  12. Arias For Cuzzoni: Recit.: Chi mai l'intende - Aria: Amante stravagante (Flavio I, 13)

Tracks:

  1. Arias For Durastanti: Recit.: Favorevol la sorte - Aria: Ogni vento (Agrippina II, 20)
  2. Arias For Durastanti: Pensieri, voi mi tomentate (Agrippina II, 13)
  3. Arias For Durastanti: Ombra cara di mia sposa (Radamisto II, 2)
  4. Arias For Durastanti: Recit.: Oh Dio! parte Zenobia - Aria: Qual nave (Radamisto III, 1)
  5. Arias For Durastanti: Accopm.: Io d'altro regno - Aria: Dimmi, crudele Amore (Muzio Scevola III, 3)
  6. Arias For Durastanti: Recit.: Ben a raggion - Aria: Vieni, o figlio (Ottone II, 4)
  7. Arias For Durastanti: Recit.: Vani sono i lamenti - Aria: Svegliatevi nel core (Guilio Cesare I, 4))
  8. Arias For Durastanti: Cara speme (Guilio Cesare I, 8)
  9. Arias For Durastanti: Recit.: Figlio non e - Aria: L'angue offenso mai riposa (Guilio Cesare II, 6)
  10. Arias For Durastanti: L'aure che spira (Guilio Cesare II, 11)
  11. Arias For Durastanti: La giustizia (Guilio Cesare III, 5)
  12. Arias For Durastanti: Mirami altero in volto (Arianna I, 2)
  13. Arias For Durastanti: Qual leon (Arianna II, 6)

Tracks:

  1. Arias For Senesino: Va tacito (Guilio Cesare I, 9)
  2. Arias For Senesino: Non e si vago e bello (Guilio Cesare I, 7)
  3. Arias For Senesino: Vivi, tiranno (Rodelinda III, 4)
  4. Arias For Senesino: Recit.: Che piu si tarda omai - Accomp.: Inumano fratel - Aria: Stille amare (Tolomeo III, 6)
  5. Arias For Senesino: Recit.: Nube, che il Sole - Aria: Si fugge il duol (Riccardo Primo II, 7)
  6. Arias For Senesino: Agitato da fiere tempeste (Riccardo Primo I, 6)
  7. Arias For Senesino: Accomp.: Ah! stigie larve - Arioso: Gia latra Cerbero - Accomp.: Ma la furia - Aria: Vaghe pupille (Orlando II, 11)
  8. Arias For Senesino: Accomp.: Gia per la man - Arioso: Gia l'ebro mio ciglio (Orlando III, 8)
  9. Arias For Senesino: Recit.: T'ubbidiro, crudele - Aria: Fammi combattere (Orlando I, 9)
  10. Arias For Senesino: Recit.: E questa la Mercede - Aria: Cielo! (Orlando II, 3)
  11. Arias For Senesino: Amor, nel mio penar (Flavio III, 4)

Tracks:

  1. Arias For Montagnana: Recit.: Perche tanto tormento? - Aria: Se un bell'ardire (Ezio I, 6)
  2. Arias For Montagnana: Accomp.: Folle e colui - Aria: Nasce al bosco Ezio II, 8)
  3. Arias For Montagnana: Recit.: Che indegno! - Aria: Giisonar (Ezio III, 13)
  4. Arias For Montagnana: Recit.: Addio, principe scrupoloso - Aria: Fra l'ombre e gli orrori (Sosarme I, 5)
  5. Arias For Montagnana: Recit.: Quanto piu Melo - Aria: Sento il cor (Sosarme II, 7)
  6. Arias For Montagnana: Recit.: Tanto s'eseguira - Aria: Tiene Giove (Sosarme II, 9)
  7. Arias For Montagnana: Recit.: I'll Hear No More - Aria: Pluck Root And Branch (Esther I, 3)
  8. Arias For Montagnana: Turn Not, O Queen (Esther II, 6)
  9. Arias For Montagnana: How Art Thou Fall'n (Esther III, 6)
  10. Arias For Montagnana: Recit.: Avampo - Aria: Ferito son d'Amore (Acis & Galatea Second Part)
  11. Arias For Montagnana: Piangi pur (Tolomeo II, 7)
  12. Arias For Montagnana: Recit.: Mira, e prendi l'esempio - Aria: Lascia Amor (Orlando I, 2)
  13. Arias For Montagnana: Recit.: Impari ognun da Orlando - Accomp.: Accomp.: O voi del mio poter - Aria: Sorge infausta una procella (Orlando III, 6)
  14. Arias For Montagnana: Recit.: Barak, My Son - Aria: Awake The Ardour (Deborah I, 3)
  15. Arias For Montagnana: Recit.: Thy Ardours Warm - Aria: Swift Inundation (Deborah II, 2)
  16. Arias For Montagnana: Tears, Such As Tender Fathers Shed (Deborah III, 2)
  17. Arias For Montagnana: Ah, Canst Thou But Prove Me! (Athalia II, 1)

Customer Reviews:

5 out of 5 stars Do not miss it!.......2004-12-20

As some really interesting McGegan recordings silently disappear, buy it NOW, without hesitation.

The concept is lavish. We see how Handel's pen was controlled by the artists' personality. David Thomas, e.g., flies down to the abyss opened by Handel's music to the possibly plutonian Montagnana -nobody, never could sing it better, "fly deeper". The ladies are lecherously "aviatic" to the opposite direction. Those who miss it miss a universe.

5 out of 5 stars A must-have for Handelians.......2004-08-04

This bargain-priced box set is a must-have for anyone who loves Handel's operas. Whilst Nicholas McGegan has had his critics over some of his Goettingen recordings, it cannot be denied that he has rescued some of Handel's finest arias and operas from the dustbin of History. And here (87 arias later), he has a fine cast of singers all re-living the repertoire of some of the best singers of the 18th century - Lisa Saffer sings arias by Cuzzoni, Drew Minter arias by Senesino, David Thomas arias for Montagnana, and Lorraine Hunt Lieberson arias by Durastanti.

The excellent Philharmonia Baroque Orchestra provide superb accompaniment for each singer, and the sound quality is very good across all four discs. The whole comes with a very informative and exhaustive booklet containing introductory essays for each singer, as well as full libretti.

Highlights include Lisa Saffer's ravishing account of Falsa Imagine (Ottone) which Cuzzoni allegedly refused to sing as it was too plain - until Handel threatened to throw her out of the window..! Lorraine Hunt's re-enaction of Durastanti's Sesto role from Giulio Cesare sees a committed 'L'angue offenso mai riposa'. Drew Minter's coppery and languid countertenor gives delight in little-known arias from Riccardo Primo (Agitato da fiere tempeste) and Tolomeo (Stille Amare). Whilst David Thomas' cavernous bass voice ranges across opera and oratorio roles for Montagnana.

In all this is a superb collection that illustrates what a genius Handel was at characterisation and word-painting. No Handel lover will want to miss it.

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music review

Music Review

Nova V.1 [Import]

Sousa Favorites

The Kennedy White House Concerts

P.T. Gazell "Pace Yourself"

Unicorn [Import]

The Spirit of the Zither: At the Sources of Meditation

Svenska Party Hits [Import]

The Very Best of Sheryl Crow

The Very Best of the Eagles [Original recording remastered] [Import]

Surfin Safari [Import] [Original recording remastered]

Saint Germain Des Pres [Import]

Sound Of Light

The Child of the Storm

Call the Rain Ep

Jazz Music jazz-music-13